Leeds-based Chris Wade is the man behind the band Dodson and Fogg and he sings, as well as playing guitars, bass, keyboards, percussion and flute. He’s enlisted the help of Celia Humphris (Trees) on vocals on seven of the tracks, and Alison O’Donnell (Mellow Candle) on one, as well as Nik Turner (Hawkwind) on flute, Colin Jones on trumpet and Amanda Votta on flute.
“That’s a lot of flutes”, I hear you say and whilst other reviewers have mentioned Jethro Tull don’t be expecting any standing on one leg frenzied flute action.
I have, over the past 9 months or so, become increasingly disillusioned with much of what passes for ‘progressive’ rock music nowadays.
What I have found refreshing, though, are bands like Dodson and Fogg, These Curious Thoughts, KingBathmat and echolyn to name a few who are making truly original music, without seeing the need to clog the soundstage up with unnecessary instrumentation, over-production or Pro-toolery. The songs are given room to breathe, the melodies become all important and sometimes it’s the gaps between the instruments that are truly spectacular, aurally.
The debut, and this second album have been garnering lots of positive reviews, and Chris was recently interviewed by the Classic Rock Society. There he mentioned his influences were Leonard Cohen, early Cat Stevens, Simon and Garfunkel, really early Jethro Tull. His favourite songwriter, though, is Ray Davies and there’s a quintessential Englishness (have a listen to Too Bright) to this record that reflects that I think.
I love how no song ever outstays its welcome, how the vocals and lyrics support the tune, and not the other way round, and how every bit of instrumentation, be it trumpet, flute, acoustic or electric guitar is almost perfectly placed. Record and mix it any other way and it loses its beauty, its fragility, its inner core. It is, dare I say it, art. Art that serves no purpose other than to be art.
But what I love more than anything are the electric guitar sounds this young man creates. The trumpet on What Goes Around is pretty special too, as is the acoustic guitar and trumpet on Too Bright (early Tull, anyone?) but I digress. Guitar-wise, check out Can’t Hold Me Down and Too Bright for example. I get very, very early Buck Dharma, in both Stalk Forrest Group and Blue Öyster Cult incarnations. Lovely, psychedelic, sparse guitar runs, or flourishes, even notes that make me at least beam from ear to ear. It’s To The Sea where the guitar lets rip though, albeit in a very restrained, beautiful way. Notes, chords of electric guitar duet with strummed acoustic as the song gathers pace, wanting to break lose but resisting the temptation. The prog equivalent of tantric sex methinks. It’s a staggering piece of music. And I’m spent.

I mentioned These Curious Thoughts in my first review for the site and I think it’s worthwhile to revisit their 2012 release Building Mountains From the Ground. There’s a new album out at the moment and I’m working on a review of that but for the moment I’d like to share with you something I wrote a wee while ago by way of an appetiser for an underrated band who I think deserve wider exposure. This review has previously appeared elsewhere but I’ve changed a few paragraphs and moved a couple of commas about.
In 2011 Londoner Jamie Radford (lyrics) and Sean Dunlop from Motown, a.k.a. Detroit in the U.S. of America (music and vocals) were joined by Nate Shannon on bass and Sean “Nasty” Nasery on drums. And thus we have this new album, which continues in a similar musical vein as their earlier record. It’s a few minutes short of an hour long, and is positively packed to the rafters with fantastic musicianship, and intelligent, thought-provoking lyrics. The last one was good but this is even better.
I’ve Got God On The Phone gets the album off to a rollickingly good start, a feel good poppy/rocky tune, a bit Talking Headsy perhaps, with a memorable chorus, great guitar fills and backing vocals by God, who asks, quite understandably ‘what the hell do you want?’ Indeed.
Uncivilised Society is a slab of alt pop/prog reminiscent of Spiraling, or Talk Talk, whilst Dark Star has the REM/BOC thing going on that I was so enamoured of on the last record. With a touch of Neil Young thrown in for good measure. The exuberant run for the finish and sublime little guitar solo towards the end is particularly pleasing.
The title song is a slower piece, more keyboard oriented than the preceding tracks before we’re off back to guitar town and Nothing Is Supernatural. Yet another great guitar solo in the style of Donald (Buck Dharma) Roeser marks out this song as one that’s sure to appeal to BOC fans, as are the multi-tracked vocal harmonies.
The Illusionist has a swinging Dave Matthews Band vibe to it, musically and vocally, as well as sounding like it wouldn’t have been out of place on Mirrors.
Arctic Heart Attack puts me in mind, very much, of the solo work of personal favourite Johnny Unicorn of Phideaux, both in terms of the vocal delivery, and the intelligent lyrics.
Dirty Water is a piano–led (think the start of Joan Crawford) slab of intelligent alt/prog slash math rock with a kick-ass chorus and odd bursts of what sounds remarkably like the riff from Culture Club’s ‘Do You Really Want To Hurt Me?’
10 Days After has an infectious, more laid-back REM groove to it, whilst I’m A Simple Man swings along right out of the gate with those trademark Roeser-esque guitar fills, vocal delivery and harmonies that has me all of a quiver.
I Am Not Insane gets us back in Dave Matthews territory, and has some of REM’s poppier sensibilities to propel it.
Charles Darwin is the longest song on the album, at a tad under six minutes. A sampled vocal, and sound effects muse on life, the universe and everything. It’s a powerful, challenging and experimental piece, akin to something Radiohead or Mogwai might do, and musically is very percussive.
Animals muses on what an alcohol-sodden species we in the western world have become before Get Along segues in, a wonderful dollop of intelligent post-modern pop/prog, before yet another (all too short) burst of fantastic soloing.
When God Was A Boy is the last song on the album, mixing reflective piano and a sing-along chorus. Tremendous.

I’ve chosen for this, my first piece for Progarchy, to write about an incredibly talented independent musician making music of the very highest quality all on his own. Or rather a number of said musicians all of whom have released records in the last year or so which in my opinion are as good as, if not better than anything the ‘mainstream’ has been able to come up with. And by mainstream I mean both the prog mainstream and the mainstream, er mainstream. I am however going to review one of those records as this is still ostensibly a review. It’s fair to say I am honoured to be among such esteemed colleagues – the quality of writing here is second to none and an ego-free zone. It’s all about the music, just as it should be. A celebration of the genre we all love, in its many and varied forms.

Now in the past I’ve made no secret of my love for American and Scandinavian progressive rock and admit I’d rather listen to Discipline, echolyn, Izz, The Flower Kings and Beardfish et al than to a lot of what passes for progressive rock music in the UK. With one or two major exceptions of course but by and large to my tired old ears a lot of it sounds just that. Tired. And old.

However, I’ve chosen as my first review piece a record by an Englishman. Which is for my money as good a record as good as anything I’ve heard this year. And which kind of makes a mockery of my contention in the paragraph above. Now I never said I couldn’t be contrary, and I think what excites me most about the current progressive rock scene is not some new over-produced major label piece by an 80s neo-prog band that sounds pretty much like what they were doing in the 1980s. But rather it’s the current crop of independent solo/duo artists making exciting, vibrant modern progressive rock music all by themselves. It’s hard enough to play one instrument well, but these guys play half a dozen or more, write lyrics, sing, do the art, and mix, produce, manufacture and market the album. They will no doubt have made the tea too.

That Englishman is Tom Slatter. But he’s by no means unique. And before I delve into his current album, Three Rows of Teeth in a bit more detail it’s pertinent I think to give what young people term a ‘shout out’ to some other unsung heroes who have refreshed my somewhat jaded palate and who have given me a lot of pleasure musically in recent months.

Sean Dunlop and Jim Radford (These Curious Thoughts) have been making quirky, polished alt/pop prog for a while now and I’d heartily recommend their back catalogue to one and all. Similarly, Johnny Unicorn (of Phideaux fame) made for me one of the albums of the year recently in Sadness and Companionship; as did Chris Wade (Dodson and Fogg). Chris has a new album out, his third in a year. Sounds of Day and Night is I feel a mellower, more introspective record than Derring-Do which has garnered a phenomenal amount of good press and good will in the progressive rock media and has seen wider radio play by DJs rightly mesmerised by his blending of folky and psychedelic elements and his inspired use of guest players. Matt Stevens continues to impress in both his solo guise and as part of instrumental band The Fierce and the Dead whilst John Bassett (KingBathmat) has just released the very excellent Overcoming the Monster, reviewed here on Progarchy and yet another in a long line of excellent albums that for some inexplicable reason seem to have slipped under many people’s radar.

If you haven’t heard of any of these artists I’d strongly recommend you check them out and have a listen to modern progressive rock music in its truest, most honest and open form. Unimpeded by dreams of riches beyond avarice, and corporate jiggery-pokery. Which brings me nicely to Mr Slatter. I have my friend Leo Koperdraat to thank for switching me onto Tom’s music and if ever there was an ‘add to cart’ moment (and I’ve had a few) then this was it. A quick listen on his bandcamp page (http://tomslatter.bandcamp.com/) and I was duly hooked. The glass on the emergency debit card box was duly broken and due to the wonders of Paypal two (count them) shiny discs were promptly dispatched to chez bri. The new one, Three Rows of Teeth, which is reviewed here, and his previous album IronBark.

Tom describes his music on his website, http://www.tomslatter.co.uk/, as “the sort of music you’d get if Genesis started writing songs with Nick Cave after watching too much Dr Who”. And who am I to disagree with him?

He’s from London and his music is inspired by both steampunk and sci-fi genres. Three Rows of Teeth, released in March, is his third solo album and “contains songs about such clichéd subjects as fake spiritualists, murder, time travel, replacing one’s body parts with mechanical alternatives and flying an airship into a cloud full of birds with too many teeth. There is also mention of ravenous church steeples”. So there.
At 44 minutes it’s not a long album by any stretch of the imagination but it is perfectly paced and after my first listen at home on decent kit I hit the replay button straight away. I’ve had it on in the car for a week’s worth of (albeit short) commutes to the train station.
It’s bursting at the seams with the unbridled burlesque mania of The Cardiacs, the eccentricity of Johnny Unicorn, and the tunefulness and melody of These Curious Thoughts. To name just three of my favourite bands. It’s a joyous and endlessly surprising record musically and the lyrical content, touched on above mean that you will give all 44 minutes your unbridled attention. He has quickly become a firm favourite of mine – an autobuy candidate in the parlance of the prog forums. And rumour (i.e. his website) has it that he wore a cape when performing the guitar solos.

Now I love every song but if I had to choose a favourite it would be Dance Dance Dance. I have had difficulty shaking this one from the memory banks recently – it’s an earworm alright and the main vocal refrain is simply sublime. There’s an equally super little guitar solo that’ll have you tapping the steering wheel (if you are in a car, that is) like a thing possessed. However the title ‘favourite song’ is a close run thing since the album concludes with all twenty minutes or so of the three-part Time Traveller Suite. Which is simply immense. It demands to be listened through to in all one go even the three sections are individual tracks on the disc. Track of the year? Perhaps. All I know is the girl with the missing eye has a lot to answer for. It’s cinematic in scope and an absolute triumph. It twists and turns all over the place but remains melodic throughout and is chock full of hooks and delightful little guitar solos. Lyrically it’s packed full of imagery and inventiveness. All the more impressive when you remember this is all the work of one dude.

All I know is that Tom has cornered the market in steampunk sci-fi prog (if sub-genres are your thing) and has proven that modern progressive rock can be truly progressive in terms of movement forwards. I’d heartily recommend this record to one and all and I for one can’t wait to hear the next one.

Oh, and IronBark is staggeringly good too. A tad more acoustic than this one but highly recommended as well. If he’s got any left.

If your interest has been piqued you can find an interview with Tom at:

The album, and his back catalogue can be ordered at his bandcamp page.